STAR WARS: Symphony for a
Saga
The Empire Strikes Back Suite
Download and Listen
Release Date: 07/29/2016
Tracks Compiled and Edited
11/14/2015 – 06/19/2016
(A total of 64 edits have
been made)
All music composed by John
Williams
Performed by the London
Symphony Orchestra
The Empire Strikes Back
Suite
|
01 – The Perilous Ice Planet, Hoth |
(00:00 - 03:28) |
|
02 – The Mighty Imperial March |
(03:28 - 07:23) |
|
03 – The Empire Strikes Back |
(07:23 - 10:23) |
|
04 – Bounty Hunters |
(10:23 - 12:15) |
|
05 – Yoda, the Jedi Master |
(12:15 - 15:29) |
|
06 – Fleeing the Empire |
(15:29 - 17:43) |
|
07 – City in the Clouds |
(17:43 - 20:34) |
|
08 – Betrayed! |
(20:34 - 23:15) |
|
09 – The Funeral March |
(23:15 - 24:56) |
|
10 – Duel, Defeat and Departure |
(24:56 - 27:43) |
|
11 – Epilogue & Han Solo and the Princess |
(27:43 - 30:18) |
|
|
|
|
Total Runtime |
30:18 |
=================================================================================
Original recording sources are:
STAR WARS - THE EMPIRE STRIKES BACK (Special Edition Motion
Picture Soundtrack)
THE EMPIRE STRIKES BACK - Original Motion Picture Soundtrack (The
Ultimate Digital Collection)
---------------------------------------------------------------------------------------------
Personal Track Interpretation
"The Perilous Ice Planet, Hoth" (00:00 - 03:28)
Instead of opening with the famed "Imperial March," I
always wanted to begin the suite for THE EMPIRE STRIKES BACK with themes from Hoth. Even in the original Symphony, I struggled to keep
the fifth suite under time, and I had to cut that movement. When I began
working on this new version, I knew I had to include it. This is why the single
turned out to be "The Perilous Ice Planet, Hoth."
The cold and barren planet, Hoth, is a
stark contrast to the searing heat of the Tatooine
desert sands. Here, the Rebels have made their new base after fleeing the
Battle of Yavin, but the inhospitable planet is more
dangerous than they realize. The sudden introduction to this piece immediately
communicates danger on this perilous ice planet. We are reminded of Luke's attack
and how heroically Han runs to the rescue of his lost friend.
Hoth is also where Luke
receives his direction from the Spirit of Obi-Wan Kenobi, noted by the
appearance of the "Force" theme. But in this wasteland, can the
Rebels survive the elements, let alone the impending Imperial threat?
"The Mighty Imperial March" (03:28 - 07:23)
Easily one of the most memorable themes from STAR WARS is the
Darth Vader's theme, or "The Imperial March." As with previous
suites, I wanted to move away from the standard and well known concert
compositions. With careful listening, I was surprised to hear the underscore of
the opening scene contain such a different version of the March, as probe
droids are launched to the far reaches of the galaxy in search for Young
Skywalker.
From here, we move into a powerful rendition of the classic theme.
The might of the Empire is felt with the distorting horns as we transition into
the concert bridge. You can almost feel the Empire's military might growing,
building ship after ship--training troop after troop--ready to crush the
Rebellion. "The Mighty Imperial March" hopefully communicates more
strength than the familiar concert theme.
"The Empire Strikes Back" (07:23 - 10:23)
Nearly identical to the original Symphony is the movement
"The Empire Strikes Back." Weaved only from the Battle of Hoth, in which the Empire nearly decimates the Rebel
Alliance, this piece moves rapidly through memorable cues, appropriately
culminating with the triumphant "Imperial March" as Echo Base is
eliminated.
What is striking about Williams' scoring of high action sequences
is the core theme of each piece. Here, the lumbering piano and continual
pounding beat continually remind the listener of the approaching and unstoppable
Imperial AT-AT walkers. Edited to a tight piece, this representation of the
Battle of Hoth is an excellent example of the unique
themes Williams composes, which can often be buried under more familiar
character motifs.
Truly, the Rebels are scattered from before the Empire's army, and
driven from their base by the Star Destroyer filled Imperial Navy. While many
escape in a frenzy, too many perish on the cold snow
desert, Hoth.
"Bounty Hunters" (10:23 - 12:15)
One fan suggestion was to make better use of Boba
Fett's motif, which appears briefly throughout the
score. Here, I have overdubbed a creative use of Fett's
theme with eerie music from exploring the cave on Dagobah,
which adds to the tension as the "Bounty Hunters" pursue of our
heroes.
The beat of the drum and mournful horns toward the end of the
piece foreshadow Fett's role in the finale of this
story.
I made attempts to build this theme into a larger piece, and at one
time hoped it could be the suite's single. However, this nice interlude gives
some needed mystery to the suite.
"Yoda, the Jedi Master" (12:15 - 15:29)
The Force theme leads us to the introduction of "Yoda, the
Jedi Master" who will instruct Luke in the ways of the Force. A truncated
version of the concert theme is much more peaceful than previous appearances of
the music, both playfully within the film's score and cues adapting the theme
to the prequel films.
Here, Yoda is perceived as a wise master, instructing through
humility and graceful understanding of the Force, rather than the great warrior
Luke expects to find. There is surprising strength within this Jedi Master, for
his ally is the Force. Yet, we cannot forget Luke's utterance, "I don't
believe it," as the movement draws to a close.
While no one can deny Frank Oz's performance, under director Irvin
Kershner, brings so much life to the character...our
respect for Yoda is magnified by Williams' beautiful theme, and each variation
transcends the facets of the character.
"Fleeing the Empire" (15:29 - 17:43)
As if we need a reminder our heroes are being chased,
"Fleeing the Empire" throws the listener back into Darth Vader's
relentless pursuit of Skywalker, one which has lasted ever since the
destruction of the Death Star.
Through the asteroid belt of Hoth, the
Imperial Star Destroyers and TIE Fighters chase the Millennium Falcon. The
shrill, ascending flutes and winds seem to shriek as gigantic rocks fly past
the Falcon's cockpit. "You don't have to do this to impress me,"
exclaims Leia as Captain Solo skillfully evades both
asteroids and monsters, leading the Princess safely away from Vader, for now.
"City in the Clouds" (17:43 - 20:34)
The Millennium Falcon is driven to sanctuary on Bespin's famed "City in the Clouds." The tension
of the chase is slowly released, as the freighter soars through the clouds.
Embracing the city's majesty is the brief appearance of the choir when Cloud City
is revealed for the first time. This seems to be a place of respite for our
weary heroes, though Han whispers to Chewie,
"Keep your eyes open, will ya?"
Lando's march builds on this
relief, with a regal welcome. Critical listeners recognize all is not well on Lando's mining colony, as the second reprise of the main
theme brings and underscore of uncertainty voiced by the vaguely dissonant
strings. But we really want to believe Lando when he
says, "Don't worry..."
"Betrayed!"
(20:34 - 23:15)
Suddenly, we realize Lando has
"Betrayed" our heroes to Darth Vader...and Boba
Fett.
Unique to THE EMPIRE STRIKES BACK seems to be Williams’s use of
sweeping the harp's scale to transition between scenes. I made use of the harp
frequently in the suite, but one of the most perfect moments is the transition
to Vader's march toward the carbon freezing chamber.
This farewell moment between Han and Leia
as voiced by John Williams here, always gives me chills. If you have heard Joel
McNeely's score for "Shadows of the Empire," this sequence is
wonderfully adjusted to give more prominent voice to the oboe, and more might
to the clash of cymbals. I was tempted to bring that version into this
Symphony, but instead opted for soundtrack purity.
"The Funeral March" (23:15 - 24:56)
Here is the eventuality the "Bounty Hunters" drums
warned us about. "The Funeral March" follows Fett
as he transports Captain Solo, frozen in carbonite,
through the city to Slave I. The theme appears in several different moments in
the film, but combined together, they slow to an extremely mournful, deliberate
and hopeless pace. Here again, Williams seems to capture our heartbreak
perfectly.
"Duel, Defeat and Departure" (24:56 - 27:43)
Finally, Darth Vader's ultimate trap is sprung on Luke Skywalker
with the strike of the piano! Now, the untrained Jedi faces the Dark Lord of
the Sith. The swirling
strings bring "Duel, Defeat and Departure" to the terrifying truth
that Vader is indeed Luke's Father. It was unfortunate such a powerful
rendition of Darth Vader's theme was rescored for the climax of REVENGE OF THE
SITH. Here we can remember the original power of this cue, and scene.
Hopelessly defeated, not just in combat, but in spirit, all our
heroes can do is escape. Fleeing from TIE fighters once again, and this time
missing its Captain, the Falcon triumphantly jumps to hyperspace. Skywalker is
out of Vader's grasp yet again.
"Epilogue & Han Solo and the Princess" (27:43 - 30:18)
As Luke, Leia and the rest reach safety
with the Alliance fleet; we remember the loss of Han Solo. We have hope in a
rescue, and with the Force. With the transition from the Force theme comes one
of my favorite pieces in the STAR WARS saga, "Han Solo and the
Princess."
I made numerous attempts at lengthening this theme into a concert
rendition, trying to use each and every appearance of the theme. Unfortunately
it turned out to be the most challenging edit of this suite. It took me months
before I had to concede defeat in trying to recreate the concert theme from
cues in the film's score.
I was determined to insert a recorded performance by the Prague
Philharmonic into the suite, and extensively mixed the track in order to blend
it as best I could with original recordings from the London Symphony Orchestra.
While I could not use pieces to fill holes in the theme, I was so pleased with
the sound mix, I placed the track right in the middle
of the suite.
When it came to the finale, I found myself reprising the theme as
you hear it here. The initial cut for the EMPIRE’s suite clocked well over
time, but it was wonderful and mirrored how "Across the Stars" was
reprised in the Symphony for a Saga’s "Attack of the Clones Suite."
I tried to preserve that movement as best I could, but ultimately,
having this theme reprised took up too much precious time. Instead, we have
this finale performed by the LSO, as heard in the film. The edit and mastering
work to the Prague track was used as a B-side to this suite's single.
I went seven years waiting to hear this suite like everyone else. I was so excited to have it completed, and I knew it would not be another 7 years to hear the Classic Trilogy's finale…